I am throwing money at their releases. A fortune, no less. But I still do not fall for this band. Let's take this album Greenslade live! I was lucky to obtain this CD in my country and my expectations were high.
It is no secret that they were fulfilled. The singing is augmented with excellent organ work and bass line. At the end of first lyrical part, the music flows in faster tempo and uplifting mood demonstrating excellent combination of organ sounds augmented with mellotron. Drums still demonstrate its Bruford's sounds especially in the snare drums that keep the beats. The organ work really brings me back to the glory years of 70s music. Vibraphone is used throughout this track. Drums demonstrate its contribution with normal snare drum sound.
What follow is a bass solo segment with its inventive play that forms a melody of the song. Other instruments fill the music to support bass guitar solo. Right before the middle of the track, the music turns quieter featuring bass guitar solo only. The other later half of the track demonstrates mellotron work by maintaining dynamic bass guitar play and the snare drums sounds return to Bruford's like.
It's very Greenslade, sound-wise! Structurally, it's relatively a straight forward track - however, there are some nice transitions, e. With dynamic drumming. Again, the bass lines are really great even during the organ solo part. This instrumental track offers some variation of styles and tempo changes. The ending part brings the music to piano solo work as its opening. But for those who's got used to recent quality of sound recording, you might regret hearing the sonic quality of this CD.
But, the content the music is great. Keep on proggin'..!!! For a prog fan like myself in the early 's, Greenslade appeared to have everything. An eponymous band leader who played a variety of electronic keyboards, long elaborately structured tracks, and on top of everything a Roger Dean sleeve. In fact, the sleeve is the best thing about this album, being an absolutely essential Dean illustration, which demands to be seen in its original foldout LP cover format.
Behind the sleeve though, the story is different. It is hard to identify what it is about the music of Greenslade which made it so obvious that they had little chance of being anything other than a second division prog band. Perhaps an examination of the opening track "Feathered friends" will help.
Here we have a wonderful mellotron break surrounded by some diverse but weak melodies. The vocals are high pitched but not particularly tuneful. On the face of it, the lyrics are structured into rhyming phrases, but in reality, they are sung without any cognisance of that phrasing.
The song passes by but makes little impression. And so it goes throughout the album. When the mellotron sweeps do appear, they are symphonic and majestic, but they stand like pyramids in a vast desert of sand.
The twin keyboards of Dave Greenslade and Dave Lawson dominate tracks such as "An English Western" and "Drowning man", and while the organ and mellotron tones are pleasant to the ear, they lack the melodic substance to make them genuinely compulsive. At this point, I am going to make it clear that there are many positives in the music of Greenslade.
The lyrics are thoughtful, the overall sound is accomplished and pleasing, and there are far worse vocals than these about. And there is the rub. It is frustrating to find a band who were so clearly capable of becoming one of the prog giants for want of some decent melodies. Side two of the LP consists of just three tracks, ranging from four to nine minutes. They are predominantly instrumental, and seem largely improvisational.
Only the rather out of character "What are you doing to me" stand out as being different, its earthy blues being interrupted by a mellotron fanfare. Perhaps it is the band's leaning further towards jazz than their peers which is the defining factor.
Those coming to the band via Genesis or Yes, as many would have done lured by the instrumental line up and sleeve illustrations, would most likely have been disappointed to find that the melodies and hooks were not nearly as strong.
They would quickly have realised that while the band was awash with talented musicians, their compositional skills were less clear. Perhaps the second Greenslade album Bedside Manners Are Extra is slightly better in my opinion, but really these two are so close to each other that if you like one you'll like the other too.
In I was all too negative towards this album, this "review" being among the weakest I've ever written: "To some this is a 5-star gem, but I'm not very impressed. The songs are ignorable - the best being the opener 'Feathered Friends'-, the dual keyboards that very much dominate the music sound too fuzzy and unclear to my taste. Most of all, the singer-keyboardist Dave Lawson has a terrible 'forced' singing style. A strong and convincing combination with keyboards even if the sound's quality of the cd I isn't of the best I've heard.
I wonder if the rights' owners have planned to release a remastered serie. It would be great to re-light this delightful music. The album isn't based on complex, adventurous and technical keyboards-based extended tracks. Notwithstanding the band reached a high level of quality with also excellent vocals and melodies. Some sparkling moments of jazz is the icing on the cake!
As someone who is crazy about keyboard-driven, Symphonic Progressive Rock, of course I like Dave Greenslade and his eponymous band. Compared to usual suspects like Rick Wakeman and Keith Emerson, Greenslade is more subtle and the music is lighter.
This debut album, like later albums by the group, is a bit of a mixed bag. About half of the album tracks are instrumentals, and these are the best with album closer Sundance being top notch. Spotify have curated their very own essential listening 'This Is Greenslade' playlist.. Out now! Jump to. Sections of this page. Accessibility help. Email or phone Password Forgotten account? See more of Greenslade on Facebook.